This is where the overall direction, sound design, and artistic licensing come into play. We can, with our best intentions, want something to sound authentic, however realistically, as designers and artists, we will borrow from different genres and times to make happen what we want to happen. This again, however, can come back to our ...
In these days of digitized media, many music lovers have pivoted back to vinyl records. Whether it’s because one prefers the “warmness” of their sound as opposed to digital, or if it’s simply the desire to have something tangible, vinyl is making a comeback.
Any time you’re working on a mix that’s going to broadcast, it’s important to ask for specs. Specs are essentially a set of rules for each broadcaster, such as: how loud content can be (overall average and peak levels), what format to deliver (files or tape) and how or where, and specific mix requirements (such ...
No matter how remote you are feeling, there is always someone who will share your enthusiasm and passion. The support and encouragement we are able to offer each other is unmeasurable. So next time you feel alone, know you are not. If you look hard enough there is always someone to lean on
. Watch for body language, understand the music, and listen. Do all these things and you will be well on your way to a creative experience mixing monitors. If you’re like me, the creative joy of nailing one person’s mix is way more exciting than mixing FOH for a ten thousand person show.
Sometimes an opportunity arises that is such a great combination of your skills and interests, you wonder why you didn’t think of exploring it earlier. My introduction to sound design for radio drama was this kind of opportunity.
Radio Mic Placement in Musicals – Well, we had to pull the mics down the forehead. What seems like a small movement in position made a huge difference to the amount of level we could get from the mics.
There’s another sort of listening which is also vital, particularly for monitor engineers, and that’s the art of listening to what your artist is telling you. This is where we get into the realms of sound engineering as psychology!
Sound System for Andrea Bocelli -Arena da Baixada / Curitiba / Brazil: (L’Acoustics) 64 K1, 48 SB28, 64 KARA, 16 V-DOSC, 50 KUDO, 24 12XT, 108 LA-8 amplifiers, plus analog boards Midas XL4 x2 and XL3.
“Female artists account for an important group of innovators and talents in the music industry. It is such an inspiration and honor to be a part of a festival whose aim is to celebrate them”
The battles we overcome today will become part of a much larger picture. Once again, we are left in the wake of this concert feeling that the learning that we gathered in previous challenges produces greater knowledge and success moving forwards.
As tour managers, we look for effective sound engineers, stage-hands, and RF technicians who can problem solve their way through the touring minefield. Each trained in their specialty, with their own strengths and weaknesses. The audio field requires so many specialties; we have guitar techs, stage techs, tour managers, monitor engineers, safety coordinators, and more, ...